The Rise and Fall of a Translational Compound: ‘Only Begotten’ in the English Translations of the New Testament

The present paper is an attempt to account for the emergence of the designation “only begotten” in the English Bible, its widespread use in pre-modern versions, and its gradual and almost complete disappearance from most contemporary translations. A close examination of the origins of this designation, traceable to its Latin cognate unigenitus, first introduced into the biblical tradition by St. Jerome to render selected occurrences of the Greek adjective monogenes, reveals a unique theological inspiration behind it. “Only begotten,” recurring in English translation of the Bible for almost six centuries as an important christological title, has recently been replaced by translational solutions reflecting a more accurate understanding of the underlying Greek word.

Rekonstrukcja pierwotnego przesłania - rzecz o żydowskich przekładach Nowego Testamentu

Restoring the original meaning: Jewish translations of the New Testament Among dozens of new translations of the New Testament published in the last fifty years there are several versions by Jewish scholars which have not yet received enough attention. The article offers an analysis of the most characteristic features of these translations, such as criticism of the existing versions expressed in introductory sections, as well as actual techniques by means of which the Jewish origin and character of the text is emphasized in three spheres: superficial, cultural and religious, and theological, each of them illustrated with numerous examples against the background of traditional versions. It is argued that regardless of the ideological motivation underlying the origin of the Jewish translations of the New Testament they offer valuable and otherwise unavailable insights into the original message of the ancient Christian writings.

The Virgin Father

A full-length play for Tinderbox Theatre Company presenting a radical interpretation of the New Testament as told through the eyes of St Joseph.

A new method for estimating liquidity risk: Insights from a liquidity-adjusted CAPM framework

This paper proposes a new non-parametric method for estimating model-free, time-varying liquidity betas which builds on realized covariance and volatility theory. Working under a liquidity-adjusted CAPM framework we provide evidence that liquidity risk is a factor priced in the Greek stock market, mainly arising from the covariation of individual liquidity with local market liquidity, however, the level of liquidity seems to be an irrelevant variable in asset pricing. Our findings provide support to the notion that liquidity shocks transmitted across securities can cause market-wide effects and can have important implications for portfolio diversification strategies. ©2012 Elsevier B.V. All rights reserved.

Italian Canzone d'autore and Greek Entechno tragoudi: a comparative overview

‘Canzone d’autore’ is the name that a vast community of Italian music critics, authors, per-formers, producers agreed upon in the mid-1970s, to describe the Italian singer-songwriter genre. Singer-songwriters, who had been missing from Italian popular music – with very few exceptions – until the late 1950s, had become increasingly popular after 1958, and were dubbed ‘cantautori’ in 1960. The term, which propagated to Spain, Catalonia, and Latin Amer-ica, is still in use, but ‘canzone d’autore’ superseded it as a genre label, highlighting the con-nections between authorship and artistic value, implied in the already established notion of ‘Cinéma d’auteur’ from which it was derived.

The expression ‘entechno laiko tragoudi’ (‘art-folk song’) was coined in Greece by Mikis The-odorakis in the 1950s, to describe a new music genre combining the urban-folk musical idi-om with lyrics coming from high-art poetry. Although the origins of the genre are tied to the work of composers like Theodorakis and Hatzidakis who did not perform as singers, from the 1970s onwards entechno became the privileged field of new generations of Greek singer-songwriters. Dropping ‘laiko’ (folk) from its label, entechno expanded its musical influences outside the urban-folk repertory and transformed into the more all-encompassing contempo-rary ‘art song’.